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Everything posted by Davide DB
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Hello, A warm welcome in our community! -
Product Features Fast-aperture ultra wide-angle zoom lens Compact and light weight Outstanding optical performance MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4 High performance autofocus RXD stepping motor for both still and video use [1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras [2] The full-frame equivalent of 17.6-32mm. Tamron Co., Ltd. announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024. TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement. The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.
Welcome aboard, There are two pinned posts here in this forum with all you need to know. A presentation is higly recommended 😉
Did you mean 8.5" (21 cm)? A dome is forever 💠 Port and domes from Massimo San Felice's legendary Igloo/Underwave of the 1990s are still sold and traded.
Are you going to open your own brand of dome? Interceptor121 segnature series
On the header they have onlinedivegear.com.au while their domain is different and they claim to be a US dealer. I found a one year old thread on SB https://scubaboard.com/community/threads/scam-alert.634872/
Welcome onboard on this new adventure! Photo or video? Trick or treat?
I remembered we had a Sony's WB similar discussion time ago on Wetpixel and I recall this video. IDK if it's the same problem. If I understand correctly, in the comments the guy (maybe he is here 🙂 ) wrote few months ago that Sony never solved the problem and the underwater auto wb is the way to go.
https://www.fotosub-shop.com/3600-10bar-maschera-subaquea-con-lenti-diottriche-flippabili.html
Romik, I don't have an HDR monitor hence I didn't download your image nor I I did not intervene in the discussion when analyzing the image. I am intervening just by commenting on some statements. In a introductory technical paper I read: And more important: From the two industry links I read completely different standards. As you see from this table the highest standards (true blacks) have a maximum brightness of 600 nits while having an incredible low black level. So the whole point is having a contrast ratio, a DR that fits the human eye. The above image explains why you can have a perfect HDR monitor with only 400 nits. (source: https://www.leader.co.jp/uploads/2022/03/wp2_hdr_e1_181205.pdf)
Romik, I think you are making a huge confusion by mixing different topics. Also citing random sources on the net doesn't help. You insist on brightness as an absolute value but I reiterate that it has nothing to do with HDR or general quality. The relationship between DR, contrast ratio and brightness has been well explained by Interceptor giving the correct definitions. The fact that the whole internet stresses about the brightness of screens, follows the cell phone fashion: a 3000 nits display allows you to see TikTok on the beach. Similarly, a TV with exaggerated brightness allows you to watch a movie in a living room in bright light. But if you close the curtains you can enjoy a movie even with a display that has only 450 nits but blacks at 0.001. Nothing more and nothing less.
Very nice images and perfect editing! You made me want to try the extreme cold 🥶 Is this a shore or boat dive?
How are the corners? 🤣🤣
Barmaglot sumed up well everything. If you want to go down the rabbit hole, just google for Wetpixel's owner name.
It's normal, just close the iris. You have to correctly expose on the white card. During MWB the camera shots a photo and the white card reflect a lot of light. On a summer sunny day @6m here I MWB at F16/F22
I have a Panasonic and I don't think I have the function you describe. Perhaps those who use Sony can give more accurate advice. Each brand has its quirks when it comes to underwater WB and I imagine that the lake waters are quite green compared to the sea and this can make a lot of difference on how the camera behaves in doing the white balancing. Why don't you do a simple manual WB on a white card and no red filter? White card, not gray card. You will find very different opinions about this on the internet but the correct explanation is that the gray card is used (on set) to adjust the exposure while the white card is used to adjust the WB. Here is the detailed explanation from the most reliable source of all: https://www.xrite.com/service-support/18graycardversesawhitebalancecard My Panasonics within 6 meters in the Mediterranean work fine in AWB giving cool colors that I adjust in post. If I do a MWB on my wet-notes I get very warm colors, maybe too much, and then in post I intervene again by removing some of the reds.
Hi Scott, Welcome aboard!
The embedded video doesn't play. Is it Youtube? Ciao
USB solution suggested by Giancarlo is the best compromise so far.
I have these two lights that I use once in a blue moon so they are looking for a new home/housing 🙂 1000 lumen 18650 battery USB charger two optional snoots optional ball mount optional diffusers replacement o-rings They are in perfect condition. 50€ + SS each (I'm in Italy)
Battery life is often an underestimated parameter. Nauticam has made housings with the housing for a battery pack where the problem was known or even a feature. I remember the housings for the Black magic Pocket Cinema Camera had the space for it. Even now for a consumer monster like the Canon R5C, the housing comes with a built-in slot. The camera only films 8K with the external battery and even in 4K, depending on the codec used, the internal battery only lasts 15 minutes. In your case you could find a DIY solution using the monitor's M16 port and an external waterproof case. But the whole thing becomes more cumbersome. R5C
Panasonic Announces Firmware Update to Improve the Shooting Experience and Sharing Functionality of LUMIX S5II and S5IIX. S5II Firmware Version 3.0 / S5IIX Firmware Version 2.0 Enhancement of Production Workflows New Native Camera to Cloud Integration with Adobe’s Frame.io Compatibility with Frame.io Camera to Cloud is now supported, enabling images and videos to be automatically uploaded, backed up, shared, and worked on jointly via the cloud. Recorded content is sent to the Frame.io platform through an internet connection via Wi-Fi or USB tethering, enabling seamless sharing of captured photos (JPEG/RAW) and Proxy videos. This empowers creators to receive remote real-time feedback during capture and enables collaborative editing among production teams using their preferred creative software. Frame.io Camera to Cloud streamlines the workflow from shooting to editing, enhancing overall efficiency in the creative process. Proxy Video Recording This new feature records a low bit-rate proxy file when recording video. Simultaneously recording a proxy file that is linked with the original video recording enabling a faster delivery from production to post. Improved Basic Performance Real-time Auto-focus Recognition (Animal Eye, Car, Motorcycle Recognition) The improved real-time auto-focus system enhances the highly accurate Phase Hybrid auto focus of the S5II and S5IIX, efficiently recognizing people among multiple subjects. It also features an animal eye recognition function, to focus on and follow animal eyes, as well as a car and motorcycle recognition function, which is ideally suited for shooting motorsports. Enhanced E.I.S. Performance In addition to Standard, High mode is newly added to E-Stabilization (Video) function, which electronically corrects large shakes when shooting on the move. A perspective distortion correction has also been added to correct distortion that tends to occur during video shooting when using a wide-angle lens. Combined with Active I.S. Technology, it is now possible to achieve even more stable footage when shooting on the move. Expanding Creative Options SH Pre-burst Shooting The newly introduced SH pre-burst shooting function records bursts before shooting begins. When set to the SH PRE mode, the camera begins burst shooting from the moment the user half presses the shutter button, allowing retroactive burst shooting up to the moment the shutter button is pressed down fully. Hereafter a couple of reviews:
Indeed! Amazingly, the biggest damage to my equipment has always happened when I haven't used it for a while
I had the same computer and problem years ago. Same solution suggested by David and a strong spray of contact cleaner (alcohol isopropylic) solved it.
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